A few choice words of audition advice from Darren Keith Woods, General Director, Fort Worth Opera & Artistic Director, Seagle Music Colony. (And, it just so happens, an alumnus of the WTOC!) The main piece of advice I would give to a young singer is to sing what they sing best and do not play
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The Notebook
Let’s talk about the printed music that comes in the audition room with you. Just a few guidelines – no rocket science here, but you’d be surprised how many folks create stumbling blocks for themselves by ignoring this basic advice. Music That Stays OpenIf you bring actual scores (anthologies or piano/vocal scores), please be sure
Read More“There are no rules for good photographs, there are only good photographs.”
Ansel Adams offers consolation as I try to figure out what guidance we could possibly give about headshots. In preparation, my colleague and I surfed through all of the photos that have been submitted to date (about 420), trying to get some sense of current trends and articulate some caveats that we could share. It
Read MoreGet Your Left Brain Ready
Inspirational pep talks and creative problem-solving on the shelf for the next few days. Get your left brain in gear, and let’s tackle:The Preparation of Things (Audition Mini-Course Week 3) Monday – Résumé Tuesday – Headshot Wednesday – Aria Notebook Thursday – Clothes Expert Friday – We hear from Darren Keith Woods of Fort Worth
Read MoreExpert Friday: East & West Coast
Part of a weekly series, in which my colleagues responsed to an email request for anything (or 2 or 3 things…) in the way of advice they would like to give to auditionees. First, Don Marrazzo, Director of Casting & Artistic Operations at Glimmerglass Opera. I have always felt that audition “do’s and don’ts” can
Read MoreCutting Corners
There are some really tremendous (and useful!) potential audition arias that share one huge disadvantage: They’re too long to be really functional in the typical audition situation. We schedule our appointments in 1o-minute intervals, and I know some companies who are forced to schedule shorter blocks. If you want any hope of singing a second
Read MorePutting Yourself in the Fach Box
This week, I’ve been warming up with posts about simple, childish things like rare arias and versatility. Now we get to the really adult stuff. Fach Such a difficult subject for so many singers. Kind of ranks right up there with sex and money in its untouchability. A very personal, complicated decision – really best
Read MoreSomething Old, Something New
I often refer to the “standard” audition repertoire as having a useful analogy in gymnastics compulsories. There’s a checklist of things that the panel needs to know that you can nail, and the most efficient way to do that is to attack the warhorses. Yes, I know everyone sings them. And because of that, you
Read MoreJust How Versatile Can You Be?
Getting down to some brass tacks this week. The outline: Monday – Depth vs. breadth Tuesday – Standards vs. fresh fare Wednesday – Cuts and alternate versions Thursday – Stretching Expert Friday – Don Marrazzo, Glimmerglass Opera; & Joshua Winograde, LA Opera So… Jack of all Trades? Master of One? Depending on when you ask
Read MoreExpert Friday: Audition as Strip Tease
Today, a few words from Sheri Greenawald, Director of the San Francisco Opera Center, in response to my email asking for anything (or 2 or 3 things…) in the way of advice SFOC would like to give to the folks who will sing for them this fall. (Merola’s audition application info is here. They’re heading
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